There are many pieces of work that get swamped in this year’s City States. In the final article looking at the exhibition and the festival as a whole, this will become clearer as many pieces and even whole cities are missed out from this write up. Along with Incheon, two other strong cities in this year’ show are from East Asia. Hong Kong and Taipei … Continue reading City States – Part 3 (Liverpool Biennial 2012 + Roundup)
Of all the cities in the exhibition, Incheon not only presents the most colourful and inviting display of work but is the most visually pleasing. The work contrasts nicely with the dull (albeit interesting) aesthetic of the space and this clash works extremely well. Seoung Won Won’s large G prints instantly brighten up the space and recall tropical habitats that seem almost fantasy like due … Continue reading City States – Part 2 (Liverpool Biennial 2012)
Heading up the battered stair case of Copperas Hill leads to a labyrinth exhibition of work that spreads so far over such a huge space, it seems an almost impossible task to see absolutely everything there which is worthy of merit. The City States exhibition, in the words of the director of LJMU Arts school and future director of this building Juan Cruz, has a … Continue reading City States 2012 – Liverpool Biennial (Part 1)
Our final article looking into the huge New Contemporaries exhibition currently dominating the floor space of Copperas Hill will be looking at some of the work that is using mediums yet to be fully explored in these reviews. The majority of the work here is of a sculptural nature (and occasionally video) which means the work makes more obvious uses of the huge space available … Continue reading Bloomberg New Contemporaries – Part 3 (Liverpool Biennial 2012)
Never before has so much art work been housed in one space as the Copperas Building which is housing the Bloomberg New Contemporaries, City States and more of The Unexpected Guest exhibition. Due to the sheer amount of decent work on show in the building, reviews of each exhibition and work will be split into numerous articles to make sure that all the work gets … Continue reading Bloomberg New Contemporaries – Part 1 (Liverpool Biennial)
Photography plays a vital role in this year’s Biennial. The medium dominates many of the major venues including Tate Liverpool, Bluecoat and The Cunard Building. Being Liverpool’s main (and quite possibly only) art enthused photography gallery, it seems that Open Eye Gallery is faced with some strong competition at this year’s festival. This has no doubt raised its game and its contribution to The Unexpected … Continue reading The Unexpected Guest – Open Eye Gallery (Liverpool Biennial 2012)
This year’s hub of Biennial activity largely seems to flow towards The Bluecoat arts centre. With its visitor hub being housed in the space’s reception, which is now haven for art enthusiasts as well as volunteers eager for their expenses, there’s a buzz around the usually tranquil area that is addictive and fitting to the Biennial’s theme this year. Even before entering the main exhibition … Continue reading The Unexpected Guest – The Bluecoat (Liverpool Biennial 2012).
Doug Aitken’s video work has always had a sense of scale meaning that it has a natural affiliation to huge pieces of modern architecture and buildings. They have in the past snaked their way around buildings and installs, making use of the space around them and allowing the video work to spark a new relationship with ordinary passersby as well as art aficionados. His work … Continue reading The Source by Doug Aitken – Tate (Liverpool Biennial 2012)
A video interview with artist Sinta Tantra. I’ve helped install her work before and was lucky enough to talk to her in depth about her work for this year’s Biennial which covers the walls of Open Eye Gallery on the waterfront. It’s a beautifully colourful work and works well the jagged, disjointed architecture. Music is from the soundtrack to In The Mood For Love; a … Continue reading Video Interview With Sinta Tantra – Liverpool Biennial 2012
Though there are distinct visual elements to discuss when looking at the work of Ming Wong currently housed in Wood Street for this year’s Biennial, it seems a shame to miss the opportunity to discuss in greater detail the relationship of his work to theory of orientalism in western film. The work is of course worthy of many hundreds of words on its physicality, its … Continue reading Making Chinatown (Ming Wong) – Liverpool Biennial 2012.